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Thread: Cyrano de Bergerac at Teatro Real

          
   
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  1. #1
    Schigolch
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    Cyrano de Bergerac at Teatro Real

    Cyrano de Bergerac is an opera written by Franco Alfano, based on Rostand's play. It was premiered in Rome, back in 1935.

    The libretto was written in French, by Massenet's usual collaborator, Henri Ca´n. However, the premiere was sung in Italian, and since then there have been performances in both languages.

    The US premiere was not given until very recently, in 2005, and with Mr. Domingo as Cyrano.

    Alfano is widely known as the composer that completed Puccini's Turandot, but he wrote several operas himself, some of them quite nice like Risurrezione or Sak¨ntala. This Cyrano is not quite so nice, with some good moments for the protagonist (tenor, especially the death's scene) or Roxane (soprano), but little else more in about two hours and a quarter of music. You can hear the full opera in youtube:

    Cyrano de Bergerac

    For this performance at Teatro Real (in French), the cast was:

    Conductor: Pedro Halffter
    Stage director: Petrika Ionesco

    Cyrano: Plßcido Domingo
    Roxane: Ainhoa Arteta (replacing Sondra Radvanovsky, that cancelled the first performances)
    De Guiche: Angel Odena
    Christian. Michael Fabiano

    It was also showed in a few cinemas across the world.


    Mr. Domingo is hugely popular in Madrid, his native city, and he sang to a full house. This role of Cyrano is one he thinks suit well his current vocal capabilities, and he is right. The timbre is still beautiful, at 71 years old, and the top notes are more and more problematic, but he uses his experience, and his legend, to carry the evening. Ms. Arteta is in her absolute best form ever for the last couple of years, and she was a delicious Roxane, the brightest performer in the show, and no one really missed a formidable singer, like Sondra Radvanovsky. Mr. Odena was solid, but little else, while Mr. Fabiano was really challenged by a role that is not that difficult to sing.

    On the pit, Mr. Halffter, an specialist in 20th century repertory, provided a good conducting, though not quite balanced between the orchestra and the singers. The production was very classical, and, despite Ms. Ionesco's good intentions, it was basically invisible to the audience after the first ten minutes.

    Overall, just another opera evening, not very exciting, but nice.


  2. #2
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    Quote Originally Posted by Schigolch View Post
    It seems like love duet scene on that frame so why on Earth is he singing to her that they need to see the difference between the two tenor roles which are very similiar? What kind of crazy opera is that? There was no such line in Rostand's play. I won't watch this thing.

  3. #3
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Aramis View Post
    It seems like love duet scene on that frame so why on Earth is he singing to her that they need to see the difference between the two tenor roles which are very similiar? What kind of crazy opera is that? There was no such line in Rostand's play. I won't watch this thing.
    This clip probably comes from a documentary or the director's comment was left on. But you're probably kidding, anyway.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  4. #4
    treemaker
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    What is Michael Fabiano doing these days? I remember him from the Met Auditions that were filmed in HD.

    HERE is his interview.

    We could almost start a Michael Fabiano thread....


  5. #5
    Schigolch
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    One performance, as broadcasted by RTVE:

    http://www.rtve.es/alacarta/audios/e...05-12/1413662/

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